In A Singing Approach to Horn Playing, author and renowned teacher-musician Natalie Douglass Grana develops the fundamental sense of pitch that is essential to play the horn. The book begins with simple songs to sing on solfege, buzz on the mouthpiece, and play on the horn, followed by inner hearing, transposition, and polyphonic exercises. Readers learn to fluidly hear the notes on the page before playing them, through sequential exercises with songs, improvisation, stick notation, and duets. Training continues with progressively challenging melodies, including canons as well as vocal etudes (solfeggi) like those of Giuseppe Concone. Finally, hornists apply their musicianship skills to standard etude, solo, and orchestral horn repertoire. Horn parts are provided with important lines from the orchestra or accompaniment, transposed to also be sung and played on the horn. Accompanying rhythmic and harmonic exercises enable performers to learn to hear the parts together as they play. Through a wide-ranging synthesis of theory, practical advice, and exercises, Douglass Grana puts forth a crucial guide for a new generation of horn players and burgeoning musicians seeking to improve and perfect their sense of pitch.

In A Singing Approach to Horn Playing, author and renowned teacher-musician Natalie Douglass Grana develops the fundamental sense of pitch that is essential to play the horn. The book begins with simple songs to sing on solfege, buzz on the mouthpiece, and play on the horn, followed by inner hearing, transposition, and polyphonic exercises. Readers learn to fluidly hear the notes on the page before playing them, through sequential exercises with songs, improvisation, stick notation, and duets. Training continues with progressively challenging melodies, including canons as well as vocal etudes (solfeggi) like those of Giuseppe Concone. Finally, hornists apply their musicianship skills to standard etude, solo, and orchestral horn repertoire. Horn parts are provided with important lines from the orchestra or accompaniment, transposed to also be sung and played on the horn. Accompanying rhythmic and harmonic exercises enable performers to learn to hear the parts together as they play. Through a wide-ranging synthesis of theory, practical advice, and exercises, Douglass Grana puts forth a crucial guide for a new generation of horn players and burgeoning musicians seeking to improve and perfect their sense of pitch.

Some thirty-two experts from fifteen countries join three of the world's leading authorities on the design, manufacture, performance and history of brass musical instruments in this first major encyclopedia on the subject. It includes over one hundred illustrations, and gives attention to every brass instrument which has been regularly used, with information about the way they are played, the uses to which they have been put, and the importance they have had in classical music, sacred rituals, popular music, jazz, brass bands and the bands of the military. There are specialist entries covering every inhabited region of the globe and essays on the methods that experts have used to study and understand brass instruments. The encyclopedia spans the entire period from antiquity to modern times, with new and unfamiliar material that takes advantage of the latest research. From Abblasen to Zorsi Trombetta da Modon, this is the definitive guide for students, academics, musicians and music lovers.

The seeds of irreverent humour that inspired the likes of "The Wayne and Shuster Hour" and "Monty Python" were sown in the trenches of the First World War, and The Dumbells--concert parties made up of fighting soldiers--were central to this process. "Soldiers of Song" tells their story.

Lucky soldiers who could sing a song, perform a skit, or pass as a "lady," were taken from the line and put onstage for the benefit of their soldier-audiences. The intent was to bolster morale and thereby help soldiers survive the war.

The Dumbells' popularity was not limited to troop shows along the trenches. The group managed a run in London's West End and became the first ever Canadian production to score a hit on Broadway. Touring Canada for some twelve years after the war, the Dumbells became a household name and made more than twenty-five audio recordings. If nationhood was won on the crest of Vimy Ridge, it was the Dumbells who provided the country with its earliest soundtrack. Pioneers of sketch comedy, the Dumbells are as important to the history of Canadian theatre as they are to the cultural history of early-twentieth-century Canada.

The Cambridge History of American Music, first published in 1998, celebrates the richness of America's musical life. It was the first study of music in the United States to be written by a team of scholars. American music is an intricate tapestry of many cultures, and the History reveals this wide array of influences from Native, European, African, Asian, and other sources. The History begins with a survey of the music of Native Americans and then explores the social, historical, and cultural events of musical life in the period until 1900. Other contributors examine the growth and influence of popular musics, including film and stage music, jazz, rock, and immigrant, folk, and regional musics. The volume also includes valuable chapters on twentieth-century art music, including the experimental, serial, and tonal traditions.

America: "Land of the free and the home of the brave." The United States has long been using song as a way of capturing its unique identity. Now, in one volume, official songs from every state (except Michigan and New Jersey, which have no official song) have been compiled. This text is a tremendous resource, from which readers will gain insight into the heritage of American statehood. Histories of these songs, biographical information about the composers and lyricists, and background on each song's entrance into status as "official" make this source the most comprehensive in existence. The entries include sheet music, allowing readers to reproduce for themselves the tunes that have proved so important in the history of the Union. Music teachers, history teachers, librarians, and anyone else interested in learning more about the United States will not want to be without State Songs. Organized alphabetically by state.

The Cambridge History of American Music is the first study of music in the United States to be written by a team of scholars. The volume begins with a survey of the music of Native Americans and then explores the historical and cultural events of musical life for the period up to 1900. Other contributors then examine the growth of popular music, including film and stage music, jazz, rock, and immigrant, folk, and regional music. The volume also includes chapters on twentieth-century art music, including the experimental, serial, and tonal traditions.

Originally published in 1896, this was an attempt to give a fuller presentation of the Sacred Verse of America than had previously existed; with notes, explanatory and biographical.

The Complete Marching Band Resource Manual is the definitive guide to the intricate art of directing college and high school marching bands. Supplemented with musical arrangements, warm-up exercises, and over a hundred drill charts, this manual presents both the fundamentals and the advanced techniques that are essential for successful marching band leadership. The materials in this volume cover every stage of musical direction and instruction, from selecting music and choreographing movements to improving student memorization and endurance to the creation of striking visual configurations through uniform and auxiliary units. Now in its third edition, The Complete Marching Band Resource Manual has been thoroughly updated to reflect new standards for drill design, charting, and musical arrangement. Offering a fresh approach to the essentials of good marching band design, this comprehensive resource shows both veteran and novice band directors how to prepare students to perform seamless and sophisticated musical formations.

In Hymns for the Fallen, Todd Decker listens closely to forty years of Hollywood combat films produced after Vietnam. Ever a noisy genre, post-Vietnam war films have deployed music and sound to place the audience in the midst of battle and to provoke reflection on the experience of combat. Considering landmark movies-such as Apocalypse Now, Saving Private Ryan, The Thin Red Line, Black Hawk Down, The Hurt Locker, and American Sniper-as well as lesser-known films, Decker shows how the domain of sound, an experientially rich and culturally resonant aspect of cinema, not only invokes the realities of war, but also shapes the American audience's engagement with soldiers and veterans as flesh-and-blood representatives of the nation. Hymns for the Fallen explores all three elements of film sound-dialogue, sound effects, music-and considers how expressive and formal choices in the soundtrack have turned the serious war film into a patriotic ritual enacted in the commercial space of the cinema.

33 grand ceremonial pieces that are ideal for use at weddings, as voluntaries, or for recitals. Not all the music is loud and extrovert: together with pieces like fanfares and marches, the collection contains a sprinkling of quieter items in solemn mood.

Irish-born and Irish-descended soldiers and sailors were involved in every major engagement of the American Civil War. Throughout the conflict, they shared their wartime experiences through songs and song lyrics, leaving behind a vast trove of ballads in songbooks, letters, newspaper publications, wartime diaries, and other accounts. Taken together, these songs and lyrics offer an underappreciated source of contemporary feelings and opinions about the war. Catherine V. Bateson's Irish American Civil War Songs provides the first in-depth exploration of Irish Americans' use of balladry to portray and comment on virtually every aspect of the war as witnessed by the Irish on the front line and home front. Bateson considers the lyrics, themes, and sentiments of wartime songs produced in America but often originating with those born across the Atlantic in Ireland and Britain. Her analysis gives new insight into views held by the Irish migrant diaspora about the conflict and the ways those of Irish descent identified with and fought to defend their adopted homeland. Bateson's investigation of Irish American song lyrics within the context of broader wartime experiences enhances our understanding of the Irish contribution to the American Civil War. At the same time, it demonstrates how Irish songs shaped many American balladry traditions as they laid the foundation of the Civil War's musical soundscape.

At the turn of the twentieth century, the United States extended its empire into the Philippines while subjugating Black Americans in the Jim Crow South. And yet, one of the most popular musical acts was a band of "little brown men," Filipino musicians led by an African American conductor playing European and American music. The Philippine Constabulary Band and Lt. Walter H. Loving entertained thousands in concert halls and world's fairs, held a place of honor in William Howard Taft's presidential parade, and garnered praise by bandmaster John Philip Sousa-all the while facing beliefs and policies that Filipinos and African Americans were "uncivilized." Author Mary Talusan draws on hundreds of newspaper accounts and exclusive interviews with band members and their descendants to compose the story from the band's own voices. She sounds out the meanings of Americans' responses to the band and identifies a desire to mitigate racial and cultural anxieties during an era of overseas expansion and increasing immigration of nonwhites, and the growing "threat" of ragtime with its roots in Black culture. The spectacle of the band, its performance and promotion, emphasized a racial stereotype of Filipinos as "natural musicians" and the beneficiaries of benevolent assimilation and colonial tutelage. Unable to fit Loving's leadership of the band into this narrative, newspapers dodged and erased his identity as a Black American officer. The untold story of the Philippine Constabulary Band offers a unique opportunity to examine the limits and porousness of America's racial ideologies, exploring musical pleasure at the intersection of Euro-American cultural hegemony, racialization, and US colonization of the Philippines.

At the turn of the twentieth century, the United States extended its empire into the Philippines while subjugating Black Americans in the Jim Crow South. And yet, one of the most popular musical acts was a band of "little brown men," Filipino musicians led by an African American conductor playing European and American music. The Philippine Constabulary Band and Lt. Walter H. Loving entertained thousands in concert halls and world's fairs, held a place of honor in William Howard Taft's presidential parade, and garnered praise by bandmaster John Philip Sousa-all the while facing beliefs and policies that Filipinos and African Americans were "uncivilized." Author Mary Talusan draws on hundreds of newspaper accounts and exclusive interviews with band members and their descendants to compose the story from the band's own voices. She sounds out the meanings of Americans' responses to the band and identifies a desire to mitigate racial and cultural anxieties during an era of overseas expansion and increasing immigration of nonwhites, and the growing "threat" of ragtime with its roots in Black culture. The spectacle of the band, its performance and promotion, emphasized a racial stereotype of Filipinos as "natural musicians" and the beneficiaries of benevolent assimilation and colonial tutelage. Unable to fit Loving's leadership of the band into this narrative, newspapers dodged and erased his identity as a Black American officer. The untold story of the Philippine Constabulary Band offers a unique opportunity to examine the limits and porousness of America's racial ideologies, exploring musical pleasure at the intersection of Euro-American cultural hegemony, racialization, and US colonization of the Philippines.

There were approximately 7,000 full-time bandsmen serving in the British army in the interwar years. This was about a third of the total number of musicians in the music profession in the United Kingdom, making the War Office the largest single employer of professional musicians in the country. British army musicians were a key stakeholder in the music industry in the United Kingdom, but also farther afield, where it made a significant contribution to the maintenance of British imperial authority. To sustain the large number of bands, residential institutions provided young boys for recruitment into the army as bandsmen and, as a consequence, the army set the standard for musical training and performance. The music industry relied upon the existence of army bands for its business and the military played a significant part in the adoption of an international standard of musical pitch. Nevertheless, there was a tempestuous relationship between army bands and the BBC, as well as the recording industry as a whole. Using untapped sources and original material, Major David Hammond reveals the role and soft power influence of British army music in the interwar years.